Exceptionally, “The Count of Monte-Cristo” is scheduled for release on Friday, June 28, 2024, for strategic reasons, coinciding with the start of World Cinema Day. It arrives a year after Part 1 of “The Three Musketeers” and just six months after the second installment dedicated to Milady, both authored by Alexandre Dumas. If we can speak of an Alexandre Dumas Universe when mentioning these three films, it is essential to remember that they are part of Pathé’s strategy for regaining ground and its chief, Jérôme Seydoux, who had a straightforward plan post-health crisis to revive French cinema: produce fewer films but ensure each one is nearly guaranteed to be successful. We all recall the coverage surrounding French films and the actors/producers tasked with initiating this ambitious new vision. Guillaume Canet for “Astérix & Obélix” managed to draw over 4.6 million cinema-goers despite his film’s artistic shortcomings. François Cibil, Pio Marmaï, and Vincent Cassel representing the Musketeers in their two films, which were relatively well-received by critics and the public, also come to mind. Perhaps not as much as Pathé had hoped for, but the groundwork was laid. Then there was Pierre Niney, more discreet, who waited his turn to unsheathe his own Edmond Dantès blade. He was right to wait, as he likely encapsulates this French blockbuster’s success alone.
REINVENTING THE MYTH
For “The Count of Monte-Cristo,” it was essential to revisit both the myth and Alexandre Dumas’ novel. After all, the story is well-known, and there are already around thirty adaptations, some from the United States. Additionally, the film’s length was a point of consideration. Given that Dumas’ work spans approximately 1,900 pages, one might prefer a TV series format over a single film to fully address the entire work. However, there is a line spoken by the Count and delivered by Pierre Niney in the film that I particularly appreciate: “We will take all the time it takes for our revenge.” This is exactly what directors Matthieu Delaporte and Alexandre de la Patellière have done to remain true to the richness of Dumas’ novel. Yes, “The Count of Monte-Cristo” runs 3 hours and 28 minutes, but the film flows so well that one does not notice the three-hour duration passing. This alone is a clear indicator of high quality.
EDMOND, THE SUPERHERO
One must acknowledge the superheroic portrayal of the character in the 2024 version of “The Count of Monte Cristo,” which was indeed an ingenious approach to modernizing and contemporizing the film. A parallel can be drawn between Batman and Edmond Dantès, similar to Bruce Wayne in Christopher Nolan’s “The Dark Knight Rises.” After spending 14 years imprisoned in the Chateau d’If, Edmond reinvents himself much like Bruce Wayne does from his underground lair. Transforming Monte Cristo Island into a secret base, Edmond plans his revenge, learns to disguise himself and fight, often appearing bare-chested with prominent muscles and visible scars. It is clear that French filmmakers have taken inspiration from Batman for this modern adaptation of “The Count of Monte Cristo,” particularly given the amplified concept of masks in the film, evident through striking overhead shots. Furthermore, the entire structure and narrative revolve around methods of disguise, sudden appearances followed by stealthy disappearances, reminiscent of Ethan Hunt’s identity changes and mask usage in “Mission: Impossible.” Despite Pierre Niney’s youthful appearance, the film successfully avoids ridicule both visually and narratively, maintaining coherence through dialogue and phrasing.
The text in “The Count of Monte Cristo” is less sophisticated and literary compared to the dialogues in “The Three Musketeers,” which had a theatrical heaviness that could quickly turn into ridicule, especially with actors such as Vincent Cassel, Romain Duris, and François Civil, who are often associated with street roles. The advantage of “The Count of Monte Cristo” lies in its casting of lesser-known actors to the general public. Of course, Pierre Niney and Laurent Lafitte are exceptions, but Bastien Bouillon, Patrick Mille, Julien de Saint Jean, Vassili Schneider, Anamaria Vartolomei, and Anaïs Demoustier have not yet achieved widespread recognition. However, Laurent Lafitte, Bastien Bouillon, and Patrick Mille form a compellingly despicable trio of antagonists, with Bastien Bouillon’s portrayal of Fernand de Morcef occasionally evoking the character of Dr. No. Similarly, the newer generation of actors including Julien de Saint Jean, Vassili Schneider, and Anamaria Vartolomei bring passion and accuracy to their roles, particularly Anamaria Vartolomei who captivates with every appearance, reminiscent at times of Isabelle Adjani and Monica Bellucci. She is an actress on whom French cinema can rely.
SOBRIETY & ELEGANCE
Technically, it is also quite successful, featuring a camera that effectively captures the settings where the plot unfolds each time. Filmed in natural environments, Matthieu Delaporte and Alexandre de la Patellière utilize traveling shots, crane shots, and drone footage (which are abundant) to always provide a sense of grandeur and keep scenes visible. While some have criticized Martin Bourboulon’s shoulder camera work for “The Three Musketeers,” I found it necessary for certain long takes and did not find it particularly bothersome. However, the direction by Matthieu Delaporte and Alexandre de la Patellière in “Count of Monte Cristo” has a more distinctive identity, though I feel it is somewhat restrained, with some viewers possibly finding it slow-paced. That said, the cinematography here is more visually striking, featuring contrasting colors that enhance each moment.
Despite the richness of Alexandre Dumas’ novel, Matthieu Delaporte and Alexandre de la Patellière have successfully extracted the most compelling elements to create an outstanding sword-and-sorcery film. They made deliberate choices, omitting certain passages from the original work to focus on Edmond Dantès’ quest for vengeance. The narrative mirrors aspects of Nolan’s Batman series while incorporating elements reminiscent of Mission Impossible. This approach, which might seem unconventional at first glance, transforms the Count of Monte-Cristo into an ancient superhero, thereby infusing the character with modern relevance. Not only does this work effectively, but it also enhances the dramatic structure and storytelling, making it one of the finest adaptations in terms of narrative clarity and depth within a runtime of three hours.
